Tim Dowley, Christian Music: A Global History, Oxford: Lion Hudson Plc (2011)
ISBN: 0745953247 / 9780745953243
263 pages, illustrated, hardcover from $AU 29.50 online.
In Australian Libraries: http://trove.nla.gov.au/version/203573249
Reviewed by Ted Witham
Tim Dowley is a church historian who has written biographies of J.S. Bach and Robert Schumann. Christian Music is an historical survey of everything musical in Christian worship from David’s harp to 21st Century praise music. It covers contemporary Christian music on every continent, including Australian and the Pacific, and every style of music from choral to hymns to instrumental.
It was good to be reminded of the rise of Christian rock and the banning of early practitioners like Larry Norman, 1970s pioneer of “Jesus Music”, and to see his place in the development from Gospel to praise music.
The strength of this book is its breadth, and the clarity with which such a wide range of music is described. It is beautifully and generously illustrated adding a further dimension of understanding: depictions of early instruments with comments on their accuracy are a great aid to understanding a little better how the music of each period sounded. A few screenshots show the development of musical notation and its impact on composition without drowning the reader in technical description, and sensitive portraits make the viewer ponder the sensibility of individual composers.
Seven specialist contributors take the reader to places where Dr Dowley was not so familiar: Dr Mark Evans is the guide for Australia and the Pacific, Lisbon-based Orthodox priest the Reverend Dr Ivan Moody explores Orthodox music.
Of course, breadth leads to mistakes of over-simplification. Gustav Mahler, for example, whose music has a complex and intentional Christian dimension, is dismissed in a sentence: “Gustav Mahler, a convert to Catholicism, confessed he could not compose a mass because he could not affirm the Credo.” (p.165). In contrast the sceptic Verdi and the Jewish Mendelssohn rightly receive one page and three pages respectively for their efforts in writing music around Christian themes (p.162, pp.159-161).
To produce a book like this, charmingly presented, wide-ranging and clearly written, of course involves many choices about inclusions. It is too easy to nit-pick on the basis of what has been left out. What has been left in covers a huge range of material placed in a narrative which reveals the dynamism, inventiveness and beauty of music inspired by Christian faith and used in Christian worship.
It will remain on my shelf as a reference and a companion to treasure.